METAMORPHIC - Coalescence
F-IRECD 59
Laura Cole (p, comp, arr); Kerry Andrew (v, loops); Chris Williams (as); John Martin (ts, ss);Paul Sandy (b); Tom Greenhalgh (d)
with Seth Bennett (b); Chris Montague (g);Thea Spiers, Yvonne Magda (vln); Nick Williams (vla); Adam Piers (clo)
The Bennett-Cole Orchestra: Ollie Dover (ss); Richard Scott (bs); Helen Baines (cl); Richard ormrod (as, bcl);Chris Burge, Tom l'Anson (tb); Paul Moore (tba); Yvonne Magda, Heather Cordwell (vln); Nick Williams (clo); Seth Bennett (b); Katie patterson (perc); John Arnesen
(d)
Recorded April 2012
This is my first encounter with Metamorphic, having managed to miss an earlier release EP and the band's debut album, The Rock Between, from 2011. However, now that I am acquainted with this impressive aggregation, I will be keeping a close eye (and ear) on future developments. Listening to this new offering for the first time, my senses were were somewhat confused, and not knowing whether to be bemused, startled, dismissive or intrugued I deceided on all of the above. By the end of the disc, my mind was firmly made up, and I was reaching for the repeat button. Very aptly titled, Coalescence is just that. A bringing together of musical thoughts and genres in a manner that initally appears haphazard and wayward, but that just as quicklyreveals a logic and development that is utterly contemporary, and full of humour and above all some great music.
That the band has been together for some time is immediately apparent. The music is complex and multi-faceted, but these guys handle it with ease.Pianist, leader, composer and arranger, Laura Cole is not afraid to run with an idea or concept and shows that she has the skill to make them work. In a band full of excellent soloists it is the overall group sound that impresses and draws you into the music. Citing her influences as Carla Bley, Charlie Haden's Liberation Music Orchestra, Moondog and Stravinsky I can heaer the influence of Mike Westbrook in the way in which Cole has found a way to make a relatively small unit, the majority of the album recorded with a sextet, sound much larger than its component parts. In a music that is so full of joy, Cole's writing draws heavily on her own personal feeling and dreams, and her own experience of RSI as a musician and the depression that followed.
As a pianist, she shows a strong touch on the keyboard in her accompaniment on 'Gentle Piece', an arrangement of the Kenny Wheeker tune that Metamorphic release on an EP entitled Recovery Suite, and that she has felt compelled to revisit. Other covers include 'Little Woman, Lonely Wing' which is a juxtposition of Ornette's 'Lonely Woman' and Hendrix's 'Little Wing' and a few of her own thoughts thrown in for good measure. Cole brings in a string section for the superb version of Radiohead's 'Reckoner', and her writing here is one of the highlights of the album; and closes proceedings by introducing the Bennett-ColeOrchestra, that she co-leads with bassist, Seth Benett for a joyously raucous finale 'Light Up Yourself'.
For those of who followed and heard live the eighties big band Loose Tubes, this is a must. For those who didn't, don't let Metamorphic pass you by. A band full of great musicians and an arranger/composer who has the ability to captivate and hold your attention.
Reviewed by Nick Lea
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Laura Cole (p, comp, arr); Kerry Andrew (v, loops); Chris Williams (as); John Martin (ts, ss);Paul Sandy (b); Tom Greenhalgh (d)
with Seth Bennett (b); Chris Montague (g);Thea Spiers, Yvonne Magda (vln); Nick Williams (vla); Adam Piers (clo)
The Bennett-Cole Orchestra: Ollie Dover (ss); Richard Scott (bs); Helen Baines (cl); Richard ormrod (as, bcl);Chris Burge, Tom l'Anson (tb); Paul Moore (tba); Yvonne Magda, Heather Cordwell (vln); Nick Williams (clo); Seth Bennett (b); Katie patterson (perc); John Arnesen
(d)
Recorded April 2012
This is my first encounter with Metamorphic, having managed to miss an earlier release EP and the band's debut album, The Rock Between, from 2011. However, now that I am acquainted with this impressive aggregation, I will be keeping a close eye (and ear) on future developments. Listening to this new offering for the first time, my senses were were somewhat confused, and not knowing whether to be bemused, startled, dismissive or intrugued I deceided on all of the above. By the end of the disc, my mind was firmly made up, and I was reaching for the repeat button. Very aptly titled, Coalescence is just that. A bringing together of musical thoughts and genres in a manner that initally appears haphazard and wayward, but that just as quicklyreveals a logic and development that is utterly contemporary, and full of humour and above all some great music.
That the band has been together for some time is immediately apparent. The music is complex and multi-faceted, but these guys handle it with ease.Pianist, leader, composer and arranger, Laura Cole is not afraid to run with an idea or concept and shows that she has the skill to make them work. In a band full of excellent soloists it is the overall group sound that impresses and draws you into the music. Citing her influences as Carla Bley, Charlie Haden's Liberation Music Orchestra, Moondog and Stravinsky I can heaer the influence of Mike Westbrook in the way in which Cole has found a way to make a relatively small unit, the majority of the album recorded with a sextet, sound much larger than its component parts. In a music that is so full of joy, Cole's writing draws heavily on her own personal feeling and dreams, and her own experience of RSI as a musician and the depression that followed.
As a pianist, she shows a strong touch on the keyboard in her accompaniment on 'Gentle Piece', an arrangement of the Kenny Wheeker tune that Metamorphic release on an EP entitled Recovery Suite, and that she has felt compelled to revisit. Other covers include 'Little Woman, Lonely Wing' which is a juxtposition of Ornette's 'Lonely Woman' and Hendrix's 'Little Wing' and a few of her own thoughts thrown in for good measure. Cole brings in a string section for the superb version of Radiohead's 'Reckoner', and her writing here is one of the highlights of the album; and closes proceedings by introducing the Bennett-ColeOrchestra, that she co-leads with bassist, Seth Benett for a joyously raucous finale 'Light Up Yourself'.
For those of who followed and heard live the eighties big band Loose Tubes, this is a must. For those who didn't, don't let Metamorphic pass you by. A band full of great musicians and an arranger/composer who has the ability to captivate and hold your attention.
Reviewed by Nick Lea
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PAUL DUNMALL & TONY BIANCO - Tribute To Coltrane
SLAMCD 292
Paul Dunmall (ts); Tony Bianco (d)
Recorded 26th October & 20 November 2012
Almost exactly twelve months after recording Thank You To John
Coltrane (See May's CD Reviews), Dunmall and Bianco return to the same studio to record this follow up. Again focussing on some of Coltrane's later pieces the duo explore the music with vigour and reverence, and at the same time manage to imbue the music with their own personalities. In doing so they are not only paying homage to one of jazz's greatest improvisers but also keep the music fresh and valid for a new generation of listeners.
In Paul's opinion the music has moved on since Thank You in the time between the recordings, and states on the cover notes to the album that "I think that this Coltrane tribute CD is the best tenor playing I've done...I may have
played in a more musical vein here and there but as just straight blowing the tenor, this is it." A sweeping statement for a man whose career has spanned more than thirty years, and covered a wide range of musical activities, but listening to the music contained in this latest chapter in the vast Dunmall discography one that is very difficult to disagree with.
From the outset, the difference in the two albums is discernible. The recorded sound seems somewhat quieter, and even at its most vigorous the music is never overpowering. Dunmall's tenor retains in full and round sound in the
lower register, and has an evenness throughout the range of the horn, but it is the clarity of the drums that impress. Bianco's contribution is beautifully captured, displaying the subtleties of timbre and dynamics that are so essential
is music of such an intimate nature.
Throughout the nine Coltrane compositions covered here, the duo produce a balanced programme that retains the listeners interest. With some of the pieces running over the ten minute mark, the pair always seem aware of where they wish to take the music, even when at it most free, and there is never a dull moment on the album. Not one to strive for effect for the sake of it, the saxophonist mostly plays within the natural range of the instrument and the use of multiphonics is sparing. The net result of this, is that saxophone and drums communicate freely and joyously, and in this well paced set the tempo and mood is varied with the more insistent 'Offering' and 'Vigil' counterbalanced with
superlative readings of 'Wise One' and 'Reverend King'; and the superb 'The Drum Thing'.
The only problem perhaps, is which of these two excellent albums to buy first? In my opinion, they should be purchased as a pair, and listened to as companion discs, and the discographers may wish to hear them in their
chronological sequence, but if pushed to choose I may just side with Dunmall and plump for this one first.
Reviewed by Nick Lea
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KEITH JARRETT/GARY PEACOCK/JACK DEJOHNETTE - Somewhere
ECM 276 6370
Keith Jarrett (p); Gary Peacock (b); Jack DeJohnette (d)
Recorded 11th July 2009
As soon as news of a new Keith Jarrett release gets out there is an almost audible buzz of anticipation, and it is all too easy for the superlatives to come pouring out, and it is no different with regard to this new offering from ECM to mark the thirtieth anniversary of the 'Standards Trio'. By now, it is perhaps established that this most important and influential piano trio since Bill Evans' trio with Scott Lafaro and Paul Motian, and with said we can get on with the job of reviewing the music at hand.
In doing so, I should perhaps add that I am a Jarrett fan as opposed to being fanatic, and find certain albums and line-ups more palatable than others. In my humble opinion Jarrett's music underwent a radical transformation, which is
audibly apparent on recorded evidence, since the pianist's battle with Chronic Fatigue Syndrome in the 90's in which he has perhaps reveiwed his own relationship not with the mechanics of the music in the physical aspect of playing the piano, but his relationship with the source material. Certainly much of his output since the beautiful solo set, The Melody, At Night With You, has warmer and more explicit appeal directly touching on human emotions, than some of his earlier (and more indulgent) solo albums.
In reveiwing this latest live performance from July 2009 one is again won over firstly by the emapthy that these three master musicians share, and bring to the concert stage, and more importantly the emotional feeling that they impart when playing. These guys now operate at such a high level that even familar material is approached with a fresh conception with the trio being able to take this material wherever they wish, without ever losing the character of
the song.
From the opening solo paino intro'Deep Space' Jarrett allows his musical personality to win through as opposed to any sort of technical display, and when the bass and drums enter, and the trio ease into 'Solar' the resultant feel from
their combined forces is not felt but appears totally tangible as if one could literally lean back on the rhythmic pulse created by Peacock and DeJohnette.
The ballads are superb, with my pick of the bunch being a delightful 'Stars Fell On Alabama', and a wonderful reading of 'I Thought About You' which retains the link with Miles' that the trio forged on their Bye Bye Blackbird tribute to Davis, along with the aforementioned 'Solar'. The three swing with a vengence on Leonard Bernstein and Stephen Sondheim's 'Tonight' as opposed to their treatment of 'Somewhere' that segues into Jarrett's 'Everywhere' with its
subtle and dynamically varied ostinato that retains interest by drawing the listener in to the heartbeat of the music.
In an effort to try and prevent the superlatives continuing to pour out, let's just say that this is definitely an album to be savoured and essential listening for anyone interested in the history of the piano trio, and leave it at that.
Reviewed by Nick Lea
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IVO PERELMAN - The Edge/Serendipity
PERELMAN/SHIPP/BISIO/DICKEY - THE EDGE
Leo Records CD LR667
Ivo Perelman (ts); Matthew Shipp (p); Michael Bisio (b); Whit Dickey (d)
Recorded Brooklyn, NYC; June 2012
PERELMAN/SHIPP/PARKER/CLEAVER - SERENDIPITY
Leo Records CD LR668
Ivo Perelman (ts); Matthew Shipp (p); William Parker (b); Gerald Cleaver (d)
Recorded Brooklyn, NYC; November 2011
With Perelman's huge sound on the tenor saxophone and his commanding use of the altissamo register, coupled with the uncompromising approach he brings to his music, he is a musician who certainly takes no prisoners. No shrinking violet, Perelman puts himself prominently in the forefront of whichever musical situation he is playing in, and whether a musician or listener you will need to hold on tight to keep up, but the effort reaps boundless rewards.
In reviewing these two quartet dates recorded only months apart, I was not just caught up in the excitement of the playing but also in the contrasting differences between the two sets. Both are quartets and both have Matthew Shipp at the piano (the pair have have also recorded a duo CD to be reviewed at a later date), which seem to give Perelman an anchor and/or partner in crime as a continuity of (shared) vision, but the difference in the two bass/drums teams is what differentiate the albums, and indeed Perelman's approach.
The pairing of Michael Bisio and Whit Dickey on The Edge seem to place the musicians in just that perilous position, with an attack on the music that appraches ferocity with the nine tracks improvistions continuously and relentlessly pushing forward. Even on the quieter cuts there is always the sense of aniticpation that the music will lead somewhere unexpected, a quiet lull in proceedings and the calm before the inevitable storm to follow.
Perelman seems to approach these improvisations in a systematic manner that gives the impression that at the beginning of each piece he is starting from some sort of themeatic idea or motif and this leads one to believe that the
saxophonist is keeping one foot in his hard bop roots. This is apparent in the quiet interlude 'Lancaster' and even more prevalent in the exquisite tribute to Ben Webster in 'Websterisms', a true dedication with not a hint of parody in
sight with Perelman capturing all of the passion of his idol without ever emulating the older musician's mannerisms.
Taking an opposite approach, Serendipity, is one long improvisation lasting some 43 minutes, and is driven along by William Parker's bass, and the young maestro Gerald Cleaver at the drums. Cleaver is making a big impression at
the moment with his appearances on several ECM albums, and his work with the Craig Taborn Trio. it is the ease in which the drummer switches between what can be contrasting idioms, and how he infuses elements of both approaches into whatever musical environment he finds himself. As a consequence of this, Cleaver brings a quieter and calmer feel to proceedings to Serendipity, even when at his busiest and this long improvisation breathes and develops along this axis.
If Cleaver plays superbly on this album, so to does Matthew Shipp.Too wily and experienced a performer to get caught in a cul-de-sac he seems to adjust not so much his playing but his role entirely within the music. If The Edge
required an altogether tougher approach, on Serendipity the pianist cleverly varies his voicings, dynamic and attack in a way that allows Perelman to take the lead, but not dominate the music. Shipp's playing on this outing is a revelation, and even when he lays out completely one can feel his presence, and the way the music lifts to another level when the piano re-enters.
Two contrasting albums from a saxophonist who is now widely regarded a master of his chosen idiom, and plays like nobody else in jazz. This is music created in the moment, and it is all credit to Leo records for being prepared to make so many recording available of this prolific artist.
Reviewed by Nick Lea
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In reviewing these two quartet dates recorded only months apart, I was not just caught up in the excitement of the playing but also in the contrasting differences between the two sets. Both are quartets and both have Matthew Shipp at the piano (the pair have have also recorded a duo CD to be reviewed at a later date), which seem to give Perelman an anchor and/or partner in crime as a continuity of (shared) vision, but the difference in the two bass/drums teams is what differentiate the albums, and indeed Perelman's approach.
The pairing of Michael Bisio and Whit Dickey on The Edge seem to place the musicians in just that perilous position, with an attack on the music that appraches ferocity with the nine tracks improvistions continuously and relentlessly pushing forward. Even on the quieter cuts there is always the sense of aniticpation that the music will lead somewhere unexpected, a quiet lull in proceedings and the calm before the inevitable storm to follow.
Perelman seems to approach these improvisations in a systematic manner that gives the impression that at the beginning of each piece he is starting from some sort of themeatic idea or motif and this leads one to believe that the
saxophonist is keeping one foot in his hard bop roots. This is apparent in the quiet interlude 'Lancaster' and even more prevalent in the exquisite tribute to Ben Webster in 'Websterisms', a true dedication with not a hint of parody in
sight with Perelman capturing all of the passion of his idol without ever emulating the older musician's mannerisms.
Taking an opposite approach, Serendipity, is one long improvisation lasting some 43 minutes, and is driven along by William Parker's bass, and the young maestro Gerald Cleaver at the drums. Cleaver is making a big impression at
the moment with his appearances on several ECM albums, and his work with the Craig Taborn Trio. it is the ease in which the drummer switches between what can be contrasting idioms, and how he infuses elements of both approaches into whatever musical environment he finds himself. As a consequence of this, Cleaver brings a quieter and calmer feel to proceedings to Serendipity, even when at his busiest and this long improvisation breathes and develops along this axis.
If Cleaver plays superbly on this album, so to does Matthew Shipp.Too wily and experienced a performer to get caught in a cul-de-sac he seems to adjust not so much his playing but his role entirely within the music. If The Edge
required an altogether tougher approach, on Serendipity the pianist cleverly varies his voicings, dynamic and attack in a way that allows Perelman to take the lead, but not dominate the music. Shipp's playing on this outing is a revelation, and even when he lays out completely one can feel his presence, and the way the music lifts to another level when the piano re-enters.
Two contrasting albums from a saxophonist who is now widely regarded a master of his chosen idiom, and plays like nobody else in jazz. This is music created in the moment, and it is all credit to Leo records for being prepared to make so many recording available of this prolific artist.
Reviewed by Nick Lea
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YELLOWJACKETS - A Rise in the Road
Mack Avenue – MAC1073
Russell l Ferrante (piano, keyboards) Bob Mintzer (tenor sax) William Kennedy (drums, keyboards) Felix Pastorius (bass) with Ambrose
Akinmusire (trumpet)
Recorded at studios in North Hollywood, no date given
The Yellowjackets brand has been synonymous with the classier end of crossover jazz fusion for over thirty years and in this, their twenty second recording, their progressive transition to a mainstream post bop
modern jazz group takes a further leap forward. The rhythmic appeal of their earlier incarnations still exists as does the silkiness of their synthesised harmonies –albeit sparingly applied –but the overall sound is one that will appeal equally to the hard core jazz fan as the `finger poppin` casual.
Largely responsible for this harder edge is the virile tenor sax of Bob Mintzer, veteran of Buddy Rich’s finest big band and much else besides. His voice gives the group real character and his improvisations make no concessions
to easy listening cop –outs. There is nothing in his playing that either tasks the intellect or abuses the ear but equally he avoids the easily achieved cliché that can marr jazz music that aims for a broad populist appeal.
Ferrante, as ever, is pure sophistication, and set in contrast to the grittier horn produces a most satisfying dialogue between the rough and the smooth. Both men are largely responsible for the never less than stimulating themes which mostly fall into what passes for post bop modernity- there are no simple riff like head arrangements here, everything has twists and turns that stimulate the soloists creative juices.
As Yellowjackets followers would expect many of the pieces are underpinned with backbeats or hip-hop rhythms but this is my no means the whole picture. Russell Ferrante’s composition "An Informed Decision "offers shifting time
signatures of intriguing complexity that demonstrate his craftsmanship and enhance the substance of the music.
Appearing for the first time as a group member is electric bass player, Felix Pastorious, son of the celebrated Jaco, and his luminous sound is employed to great effect both in rhythmic support as well as underpinning melodic lines. His solo on Russell’s limpid ballad "Longing" makes a strong case for the legitimacy of the electric instrument with its legato, guitar like, sonorities.
Another newcomer, to my ears at least, is new Blue Note Records signing, Ambrose Akinmusire, who is given guest appearance status on three tracks. What a wise decision to introduce another frontline voice – and what a voice!
Akinmusire plays a clear toned, vibrato less hard bop line reminiscent of a re-incarnated Clifford Brown. His contribution to Ferrante’s composition "Can’t We Elope" with its echoes of "Song For My Father" or "Cantaloupe Island" produce a classic Blue Note sound and his fiery exchanges with Mintzer on the pure hard bop vehicle," An Amber Shade of Blue" moves the set as far away from smooth jazz formulas as anything Wolff and Lion might have envisaged.
So as far as I’m concerned the Yellowjackets are on the right road and all conscientious jazz fans should cheer them on their way.
Reviewed by Euan Dixon
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Russell l Ferrante (piano, keyboards) Bob Mintzer (tenor sax) William Kennedy (drums, keyboards) Felix Pastorius (bass) with Ambrose
Akinmusire (trumpet)
Recorded at studios in North Hollywood, no date given
The Yellowjackets brand has been synonymous with the classier end of crossover jazz fusion for over thirty years and in this, their twenty second recording, their progressive transition to a mainstream post bop
modern jazz group takes a further leap forward. The rhythmic appeal of their earlier incarnations still exists as does the silkiness of their synthesised harmonies –albeit sparingly applied –but the overall sound is one that will appeal equally to the hard core jazz fan as the `finger poppin` casual.
Largely responsible for this harder edge is the virile tenor sax of Bob Mintzer, veteran of Buddy Rich’s finest big band and much else besides. His voice gives the group real character and his improvisations make no concessions
to easy listening cop –outs. There is nothing in his playing that either tasks the intellect or abuses the ear but equally he avoids the easily achieved cliché that can marr jazz music that aims for a broad populist appeal.
Ferrante, as ever, is pure sophistication, and set in contrast to the grittier horn produces a most satisfying dialogue between the rough and the smooth. Both men are largely responsible for the never less than stimulating themes which mostly fall into what passes for post bop modernity- there are no simple riff like head arrangements here, everything has twists and turns that stimulate the soloists creative juices.
As Yellowjackets followers would expect many of the pieces are underpinned with backbeats or hip-hop rhythms but this is my no means the whole picture. Russell Ferrante’s composition "An Informed Decision "offers shifting time
signatures of intriguing complexity that demonstrate his craftsmanship and enhance the substance of the music.
Appearing for the first time as a group member is electric bass player, Felix Pastorious, son of the celebrated Jaco, and his luminous sound is employed to great effect both in rhythmic support as well as underpinning melodic lines. His solo on Russell’s limpid ballad "Longing" makes a strong case for the legitimacy of the electric instrument with its legato, guitar like, sonorities.
Another newcomer, to my ears at least, is new Blue Note Records signing, Ambrose Akinmusire, who is given guest appearance status on three tracks. What a wise decision to introduce another frontline voice – and what a voice!
Akinmusire plays a clear toned, vibrato less hard bop line reminiscent of a re-incarnated Clifford Brown. His contribution to Ferrante’s composition "Can’t We Elope" with its echoes of "Song For My Father" or "Cantaloupe Island" produce a classic Blue Note sound and his fiery exchanges with Mintzer on the pure hard bop vehicle," An Amber Shade of Blue" moves the set as far away from smooth jazz formulas as anything Wolff and Lion might have envisaged.
So as far as I’m concerned the Yellowjackets are on the right road and all conscientious jazz fans should cheer them on their way.
Reviewed by Euan Dixon
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STEVE SWALLOW QUINTET - Into The Woodwork
XtraWatt 279 8380
Steve Swallow (el-b); Carla Bley (org); Chris Cheek (ts); Steve Cardenas (g) Jorge Rossy (d)
Recorded 15th & 16th November 2011
Recorded at the end of a three week tour of Europe this new release from bassist, Steve Swallow and his quintet, is just about as good as you can get. If my first impression of the album was that it was a bit too clinical and slick, then I have had to rapidly revise my initial opinions after spending a couple of weeks listening more intently.
Swallow has written all the compositions for these particular musicians and their individual sounds and approaches to the music of the quintet, and after time spent together performing these pieces live, by the time they had got into the studio the quintet had all of this material nailed down.
The bassist has put his own personal stamp on all the tunes on this invigorating set, but has also managed to leave enough room for everyone else to contribute so that the finished product is greater than the sum of its individual parts
From the opening slow and introspective 'Sad old Candle' with Bley's organ maintaining interest through her development of a single melodic line that eveolves gradually. A simple device that is repeated again to fine effect on
'Grisly Bsiness'.
The quintet up the anti on the tough and hard swinging (albeit too brief) 'Back In Action' with a fine guitar break/solo from Steve Cardenas before saxophonist, Chris Cheek takes a hard hitting yet rhythmically pliable solo. And indeed it is the playing of Cardenas and Cheek that really lift this material, and give it a good shake with some erudite and pithy solos.Swallow's electric bass guitar is a prominent part of the group sound, whether used rhythmically or as a secondary voice accompanying a melody line, and although I am some what of a purist and prefer a double bass, you cannot possibly be unmoved by the variety of sound, dynamics and sheer lyricism of Steve's playing.
Swallow's playing credentials cover a career spanning five decades include working with the Paul Bley Trio, Jmmy Guiffre Trio and George Russell's Sextet with Eric Dolphy, to the calmer and more orthodox settings with Stan Getz and Gary Burton; and like many of his generation, the idea of continuous artistic development and playing with many idioms and branches of the music is something to be embraced. It is this very openess to his music making that has resulted in another fine quintet and an impressive recorded document of their progress to date.
Reviewed by Nick Lea
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Steve Swallow (el-b); Carla Bley (org); Chris Cheek (ts); Steve Cardenas (g) Jorge Rossy (d)
Recorded 15th & 16th November 2011
Recorded at the end of a three week tour of Europe this new release from bassist, Steve Swallow and his quintet, is just about as good as you can get. If my first impression of the album was that it was a bit too clinical and slick, then I have had to rapidly revise my initial opinions after spending a couple of weeks listening more intently.
Swallow has written all the compositions for these particular musicians and their individual sounds and approaches to the music of the quintet, and after time spent together performing these pieces live, by the time they had got into the studio the quintet had all of this material nailed down.
The bassist has put his own personal stamp on all the tunes on this invigorating set, but has also managed to leave enough room for everyone else to contribute so that the finished product is greater than the sum of its individual parts
From the opening slow and introspective 'Sad old Candle' with Bley's organ maintaining interest through her development of a single melodic line that eveolves gradually. A simple device that is repeated again to fine effect on
'Grisly Bsiness'.
The quintet up the anti on the tough and hard swinging (albeit too brief) 'Back In Action' with a fine guitar break/solo from Steve Cardenas before saxophonist, Chris Cheek takes a hard hitting yet rhythmically pliable solo. And indeed it is the playing of Cardenas and Cheek that really lift this material, and give it a good shake with some erudite and pithy solos.Swallow's electric bass guitar is a prominent part of the group sound, whether used rhythmically or as a secondary voice accompanying a melody line, and although I am some what of a purist and prefer a double bass, you cannot possibly be unmoved by the variety of sound, dynamics and sheer lyricism of Steve's playing.
Swallow's playing credentials cover a career spanning five decades include working with the Paul Bley Trio, Jmmy Guiffre Trio and George Russell's Sextet with Eric Dolphy, to the calmer and more orthodox settings with Stan Getz and Gary Burton; and like many of his generation, the idea of continuous artistic development and playing with many idioms and branches of the music is something to be embraced. It is this very openess to his music making that has resulted in another fine quintet and an impressive recorded document of their progress to date.
Reviewed by Nick Lea
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SIMON THACKER'S SVARA KANTI - Rakshasa
Slap The Moon Records- STMRCD02
Simon Thacker (classical guitar) Japit Kaur (voice) Jacqueline Shave (violin); Sarvar Sabri (tabla)
Recorded at Castlesound Studios, Pencaitland, November 2012 and January 2013.
The music of the Indian sub continent has long exerted a powerful influence over the imagination of western musicians of whatever category: classical, popular or jazz. In jazz music alone one recalls, and enthusiastically revisits, the wonderful cross cultural realisations of John Mayer and Joe Harriott, Paul Horn, Don Ellis and more recently John McLaughlin and Jan Garbarek. There are many others. Indo / Jazz fusion is a powerful genre within the jazz canon and though this disc is not wholly dedicated, nor indeed hamstrung, by the need to seek an accommodation with jazz per se it will be of great interest to readers of this website who possess an ecumenical frame of mind and are enthusiasts of the cross-over category that some commentators call `World Beat`.
It is evident from Thacker’s generously detailed sleeve notes that his project is informed by a high degree of musical and philosophical scholarship but one doesn’t have to have academic leanings to enjoy the staggering display
of virtuosity on offer, still less the passionate interpretations that take the fusion genre to new heights of sophistication.
Throughout the eight pieces that comprise the set list, which includes two song cycles, featuring beautiful purity of Japit Kaur’s voice, and an extended concertante like invention by the American minimalist pioneer, Terry Riley, one
is made aware of the rhythmic affinities that link Indian Classical music with Western folk and jazz modes. There are also references to Middle Eastern forms and flamenco. Thacker’s enthusiasm for the music of Segovia is clearly evident whilst there is more than a whiff of Romanian and Turkish exoticism in Ms Shave’s Enesco like violin voicings. A heady mixture, indeed! Furthermore, Thacker deploys his instrumental resources with subtlety so his sound world
never becomes oppressive to the ear; quite the reverse in fact and one is amazed that such textural variation can be achieved with so few instruments.
Similar variation is achieved in the programming with balances music of pietistic significance with lighter pieces, a couple of which achieve an almost `pop single ‘appeal whilst masking their deeper complexities. One such is a duo
for classical guitar and tabla utilising the blues scale and the Aeolian mode and sounding uncannily like `Classical Gas`, the 1968 Mason Williams hit. But the most intriguing cross-over realisation is saved for last with the title
piece. `Rakshasa` is a Sanskrit word for demonical possession and to achieve a truly malevolent sound Thacker employs the reverse multitracking effect first used by Jimi Hendrix in his tune `Are You Experienced` . The effect is both haunting and arresting, a most fitting testimony to Thacker’s fertile musical imagination with which to bring this fascinating disc to a close.
Reviewed by Euan Dixon
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Simon Thacker (classical guitar) Japit Kaur (voice) Jacqueline Shave (violin); Sarvar Sabri (tabla)
Recorded at Castlesound Studios, Pencaitland, November 2012 and January 2013.
The music of the Indian sub continent has long exerted a powerful influence over the imagination of western musicians of whatever category: classical, popular or jazz. In jazz music alone one recalls, and enthusiastically revisits, the wonderful cross cultural realisations of John Mayer and Joe Harriott, Paul Horn, Don Ellis and more recently John McLaughlin and Jan Garbarek. There are many others. Indo / Jazz fusion is a powerful genre within the jazz canon and though this disc is not wholly dedicated, nor indeed hamstrung, by the need to seek an accommodation with jazz per se it will be of great interest to readers of this website who possess an ecumenical frame of mind and are enthusiasts of the cross-over category that some commentators call `World Beat`.
It is evident from Thacker’s generously detailed sleeve notes that his project is informed by a high degree of musical and philosophical scholarship but one doesn’t have to have academic leanings to enjoy the staggering display
of virtuosity on offer, still less the passionate interpretations that take the fusion genre to new heights of sophistication.
Throughout the eight pieces that comprise the set list, which includes two song cycles, featuring beautiful purity of Japit Kaur’s voice, and an extended concertante like invention by the American minimalist pioneer, Terry Riley, one
is made aware of the rhythmic affinities that link Indian Classical music with Western folk and jazz modes. There are also references to Middle Eastern forms and flamenco. Thacker’s enthusiasm for the music of Segovia is clearly evident whilst there is more than a whiff of Romanian and Turkish exoticism in Ms Shave’s Enesco like violin voicings. A heady mixture, indeed! Furthermore, Thacker deploys his instrumental resources with subtlety so his sound world
never becomes oppressive to the ear; quite the reverse in fact and one is amazed that such textural variation can be achieved with so few instruments.
Similar variation is achieved in the programming with balances music of pietistic significance with lighter pieces, a couple of which achieve an almost `pop single ‘appeal whilst masking their deeper complexities. One such is a duo
for classical guitar and tabla utilising the blues scale and the Aeolian mode and sounding uncannily like `Classical Gas`, the 1968 Mason Williams hit. But the most intriguing cross-over realisation is saved for last with the title
piece. `Rakshasa` is a Sanskrit word for demonical possession and to achieve a truly malevolent sound Thacker employs the reverse multitracking effect first used by Jimi Hendrix in his tune `Are You Experienced` . The effect is both haunting and arresting, a most fitting testimony to Thacker’s fertile musical imagination with which to bring this fascinating disc to a close.
Reviewed by Euan Dixon
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DAVID MURRAY INFINITY QUARTET - Be My Monster Love
Motéma Music 233724
David Murray ( tenor sax); Marc Cary (piano, organ); Nasheet Waits (drums); Jaribu Shahid (bass)
With guests : Bobby Bradford (cornet); Macy Gray and Gregory Porter
(vocals)
Recorded October 2012 with guest contributions recorded at different
times.
As he approaches his sixtieth birthday David Murray is poised to
take up his position as an elder statesman of post modern tenor sax playing for whilst he is still recognisable as the fiery young lion of his loft years in the nerve shredding glissandos and multi-phonic shrieks he works into his solos, a backward glancing sentimentality at the great tenor tradition is increasingly evident. Perhaps an ounce of the youthful exuberance of the early years has been conceded to a more reflective mien but Murray is still a monster with all his trademark licks and loquaciousness.
Throughout his career Murray has worked in many diverse settings and clearly likes the challenge of mixing his ingredients but on this occasion I fear the results are just a little half baked. It appears that what might have
started as a concept album that got scrambled along the way. Let me explain: the sleeve notes are given over in their entirety to a cryptic short story of carnivorous seduction by British crime writer Robert Wilson which appears to
have inspired the lyrics of the title song which is sung, or rather enunciated, by one Macie Gray, an R&B, soul singer with a bad case of laryngitis. Far worse than her singing are the lyrics themselves which are reputed to have been
penned by a poet, namely Ishmael Reed. When I tell you that the opening stanza contains the line, “Climb in my neck is yours, Suck me until I’m anaemic, until I can’t get out of bed”, and later “Be my monster love. Be Hannibal Lecter. Take a hot piece out of me. And roll me on your tongue”, you’ll realise that it takes some sturdy tenor playing to expunge the feelings of nausea engendered by such imagery. Murray conscientiously obliges in the available solo
space.
There are four vocal tracks , the remaining three featuring the fine soul/gospel voice of Gregory Porter who far from extending the vampiric theme established by Ms Gray launches into some quasi religious homilies which, given the sanctimonious nature of Reed’s poetic lyrics, prove equally wearying: one is triumphant, and prosetelyising , the other a specious cry for the preservation of childlike innocence, and a final testimony to human endurance rendered banal by such tortured metaphors as “Hope is a thing with feathers, It perches in the heart” .
Why Murray chose to get mixed up with all this unnecessary verbiage is a mystery because his music speaks for itself. The quartet tracks are really very good and the one which features veteran avant-garde cornet player, Bobby Bradford, quite outstanding. Bradford’s spare cornet playing, not dissimilar to the style of Don Cherry, is a perfect foil to the lugubrious style of the saxist and had the whole album being conducted in this way I would have endorsed it wholeheartedly. In short; great jazz, pity about the songs.
Reviewed by Euan Dixon
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David Murray ( tenor sax); Marc Cary (piano, organ); Nasheet Waits (drums); Jaribu Shahid (bass)
With guests : Bobby Bradford (cornet); Macy Gray and Gregory Porter
(vocals)
Recorded October 2012 with guest contributions recorded at different
times.
As he approaches his sixtieth birthday David Murray is poised to
take up his position as an elder statesman of post modern tenor sax playing for whilst he is still recognisable as the fiery young lion of his loft years in the nerve shredding glissandos and multi-phonic shrieks he works into his solos, a backward glancing sentimentality at the great tenor tradition is increasingly evident. Perhaps an ounce of the youthful exuberance of the early years has been conceded to a more reflective mien but Murray is still a monster with all his trademark licks and loquaciousness.
Throughout his career Murray has worked in many diverse settings and clearly likes the challenge of mixing his ingredients but on this occasion I fear the results are just a little half baked. It appears that what might have
started as a concept album that got scrambled along the way. Let me explain: the sleeve notes are given over in their entirety to a cryptic short story of carnivorous seduction by British crime writer Robert Wilson which appears to
have inspired the lyrics of the title song which is sung, or rather enunciated, by one Macie Gray, an R&B, soul singer with a bad case of laryngitis. Far worse than her singing are the lyrics themselves which are reputed to have been
penned by a poet, namely Ishmael Reed. When I tell you that the opening stanza contains the line, “Climb in my neck is yours, Suck me until I’m anaemic, until I can’t get out of bed”, and later “Be my monster love. Be Hannibal Lecter. Take a hot piece out of me. And roll me on your tongue”, you’ll realise that it takes some sturdy tenor playing to expunge the feelings of nausea engendered by such imagery. Murray conscientiously obliges in the available solo
space.
There are four vocal tracks , the remaining three featuring the fine soul/gospel voice of Gregory Porter who far from extending the vampiric theme established by Ms Gray launches into some quasi religious homilies which, given the sanctimonious nature of Reed’s poetic lyrics, prove equally wearying: one is triumphant, and prosetelyising , the other a specious cry for the preservation of childlike innocence, and a final testimony to human endurance rendered banal by such tortured metaphors as “Hope is a thing with feathers, It perches in the heart” .
Why Murray chose to get mixed up with all this unnecessary verbiage is a mystery because his music speaks for itself. The quartet tracks are really very good and the one which features veteran avant-garde cornet player, Bobby Bradford, quite outstanding. Bradford’s spare cornet playing, not dissimilar to the style of Don Cherry, is a perfect foil to the lugubrious style of the saxist and had the whole album being conducted in this way I would have endorsed it wholeheartedly. In short; great jazz, pity about the songs.
Reviewed by Euan Dixon
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YANG JING & CHRISTY DORAN - No. 9
Leo Records CD LR662
Yang Jing (pipa, guqin); Christy Doran(electric
guitar).
The pipa is a stringed instrument with a sound like a lute which
has been played for a couple of thousand years in China.
The guqin is a plucked seven string instrument sounding like a zither and also has a long history.
The idea of blending these sounds with an electric guitar is interesting. However projects like this raise some questions. Who is benefiting? Is it just a raid on an venerable old tradition in order to breath life into a western music that is jaded and in need of fresh stimulus. Is it a new way forward,mixing the best of east and west. Is it a cul-de-sac or a super highway? Is this real fusion? Does musical
globalisation in its quest for newness and relevance risk smoothing out national musics?
Yang Jing is based in Switzerland and travels the world. She spent 12 years in China's National Orchestra of Traditional Music and has performed as a guest soloist with numerous western orchestras as well as presenting solo concerts that range from ancient to modern compositions.
A history or working with jazz people such as Carla Bley, Marilyn Mazur, Hans Bennink, Albert Mangelsdorff, Jamaaladeen Tacuma and Marty Ehrlich secures Christy Doran’s jazz and improvisatory credentials. In addition to that his wide ranging interests have taken him into the world of Samuel Beckett, rock and folk music. Also based in Switzerland, Doran eventually met up with Yang Jing and they have played a series of concerts before recording the album.
So what is their music like? Take the final track: Joe Zawinul’s ‘In a Silent Way’. The only non-original piece on the album It is a meditation on the theme which slowly explores the characteristics of the two players and their instruments and the way they relate to one another. In some ways that track is typical of the album: the rhythm is slow and thoughtful, meditative.
A striking track is 'Salü Abend;' the opening sounds like homage to Ry Cooder. The jaunty ’Shadow of Roses’ enables Yang Jing to fashion an improvisation over Doran’s fairly conventional rhythm.
It is undeniable that the music is intriguing. How could it not be with with the two master musicians? The richness comes out of the counterpoint and the contrast between the traditions. Well worth hearing again and again.
Reviewed by Jack Kenny
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Yang Jing (pipa, guqin); Christy Doran(electric
guitar).
The pipa is a stringed instrument with a sound like a lute which
has been played for a couple of thousand years in China.
The guqin is a plucked seven string instrument sounding like a zither and also has a long history.
The idea of blending these sounds with an electric guitar is interesting. However projects like this raise some questions. Who is benefiting? Is it just a raid on an venerable old tradition in order to breath life into a western music that is jaded and in need of fresh stimulus. Is it a new way forward,mixing the best of east and west. Is it a cul-de-sac or a super highway? Is this real fusion? Does musical
globalisation in its quest for newness and relevance risk smoothing out national musics?
Yang Jing is based in Switzerland and travels the world. She spent 12 years in China's National Orchestra of Traditional Music and has performed as a guest soloist with numerous western orchestras as well as presenting solo concerts that range from ancient to modern compositions.
A history or working with jazz people such as Carla Bley, Marilyn Mazur, Hans Bennink, Albert Mangelsdorff, Jamaaladeen Tacuma and Marty Ehrlich secures Christy Doran’s jazz and improvisatory credentials. In addition to that his wide ranging interests have taken him into the world of Samuel Beckett, rock and folk music. Also based in Switzerland, Doran eventually met up with Yang Jing and they have played a series of concerts before recording the album.
So what is their music like? Take the final track: Joe Zawinul’s ‘In a Silent Way’. The only non-original piece on the album It is a meditation on the theme which slowly explores the characteristics of the two players and their instruments and the way they relate to one another. In some ways that track is typical of the album: the rhythm is slow and thoughtful, meditative.
A striking track is 'Salü Abend;' the opening sounds like homage to Ry Cooder. The jaunty ’Shadow of Roses’ enables Yang Jing to fashion an improvisation over Doran’s fairly conventional rhythm.
It is undeniable that the music is intriguing. How could it not be with with the two master musicians? The richness comes out of the counterpoint and the contrast between the traditions. Well worth hearing again and again.
Reviewed by Jack Kenny
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